Act One

Scene One-

 [Set One- Three walls to create open cube on stage, painted white. Artworks hung on walls. Gallery Assistant 1 sat on small, folding black stool in back right corner. Comfortable bench in center of cube, leather upholstered or other suitable material. Doorway in left wall of cube, no door.]

Lights Up. Will enters through doorway at stage left, circles room and sits on bench facing painting hung on right-hand wall…

 

            Will- ‘I think I’m in love’

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It happens very occasionally when I walk into a gallery and have a response to a work that makes me want to stay and be with for a while. I’m usually quite a fast viewer, probably due to having a short attention span, tending to do a quick circle of the room and leaving if nothing grabs my attention quick enough. I think particularly with the amount of shows that we have seen this semester spending an elongated period of time with one artwork seems a bit wasteful to me when there is so much else to go see. Perhaps this is a bit mean to the people that have put so much time and thought into making the work that is on display but part of me also doesn’t have enough time to care.

I suppose it goes hand in hand with having a slightly obsessive personality that I go through phases with artists who I really like and admire, this tends to reflect itself in the work that I am making at the time, naturally being drawn to artists exploring similar themes or methodologies. At the moment this is Michael Craig-Martin. I’ve been aware of his work for a while but after rediscovering his work recently I feel more of an affinity to his practice than I have done before and the more that I listen to interviews and read articles about him the more interesting links I find between our individual works.

There is something reassuring when you find a connection like this, giving you faith in the ideas that you are having. However, it can also be a bit of kick in the shins finding out that someone has already thought about what you’ve produced. It sets a precedent to mark your work against, forcing you to investigate the differences that sets your work apart from others- which although annoying is probably a good exercise to carry out.

A few points that Craig-Martin has said resonated with me, either as interesting ideas that I have not yet thought about or suppositions that were already present in my work- making something that isn’t anything like the real object –personalization of impersonal objects –images exist in an alternate world –fabricated, mass-produced objects of everyday life.

I genuinely enjoy Craig-Martin’s work and how he discusses it, I’m just keeping my fingers crossed that he doesn’t start drawing bathrooms anytime soon.

 

Will Coups